Magda Bałajewicz


Shaman is an individual, gifted with plenty of unusual skills - the medium between two worlds, human and the external one. Being a leader and healer, shaman is master for the younger entrants, leading them through the difficult initiation process and preparing them to independent work on their potential in the future. With time shamanism became a sort of the cultural model associated with pop-culture: a path of the artistic and spiritual transformation, a form of opposition for excluded communities, a type of common experience of art and a prototype of the figure of leader. The consciousness of the existence of this kind of artistic and psychological model and the possibility of its use in art could be the key element in young artist's music educational process, based on the intimate relation between the student and the master, especially in jazz music genre. In this context extremely important is informal and non-formal education - lasting for the whole life, it allows the artist to develop their individual personality and sensitivity on every level of existence. In this perspective the figure of shaman - first entrant, later leader - could be a valuable and useful educational model.


lifelong learning; informal and non-formal music education; music and spirituality; shamanism; the figure of shaman; jazz music and education; pop-culture; jazz; sociomusicology

Full Text:



Berendt, J. E. (1991). Wszystko o jazzie. Warszawa: Polskie Wydawnictwo Muzyczne

Berendt, J. E. (1979). Od raga do rocka. Wszystko o jazzie. Warszawa: Polskie Wydawnictwo Muzyczne.

Collier, J. L. (2001). O funkcji ekstatycznej w jazzie. In: Sadie, S., & Grove, G. (Eds.) The Grove Dictionary of Music and Musicians. Oxford: Oxford University Press.

Deren, M. (2000). Taniec nieba i ziemi. Bogowie haitańskiego wudu. Kraków: Wydawnictwo A.

DeVito, C. (2017). Coltrane według Coltrane'a. Wywiady z Johnem Coltrane'em. Kraków: Kosmos Kosmos.

Eco, U. (2008). Dzieło otwarte. Warszawa: W.A.B.

Eliade, M. (2011). Szamanizm i archaiczne techniki ekstazy. Warszawa: Aletheia.

Hancock, H., & Dickey L. (2015). Autobiografia legendy jazzu. Kraków: Sine Qua Non.

Jarvis, P. (2001). Learning in later life. An introduction for educators and carers. London: Kogan Page.

Jung, C. G. (1993). Archetypy i symbole: pisma wybrane. Warszawa: Czytelnik.

Kofsky, F. (1998). Black Music, White Business: Illuminating the History and Political Economy of Jazz. United States of America: Pathfinder Press.

Kofsky, F. (1998). Black Nationalism and the Revolution in Music. United States of America: Pathfinder Press.

Kolankiewicz, L. (2010). Teatr kultów transowych. Kultura-media-teologia, 1 (1).

Kolankiewicz, L. (2011). Wielki mały wóz. Gdańsk: Słowo/Obraz terytoria.

Livingstone, D. W. (2001). Adults’ informal learning. Definitions, findings, gaps and future research. Nal Working Papers, 20.

Muszyński, M. (2014). Around concepts: education and learning. Angragogy Yearbook, 21, 77-87.

Pentikainen, J. (2006). Shamanism and culture. Helsinki: Ethnika Oy.

Przybylska, E. (2014). Learning cultures: some reflections in the context of lifelong learning. Angragogy Yearbook, 21, 119-130.

Schmidt, A. (1988). Historia Jazzu. Rodowód , Warszawa: Polskie Stowarzyszenie Jazzowe

Szturc, W. (2014). Rytualne źródła teatru. Obrzęd-maska-święto. Kraków: Państwowa Wyższa Szkoła Teatralna im Ludwika Solskiego.

Szyjewski, A. (2005). Szamanizm. Kraków: WAM.

Troupe, Q., & Davis, M. D. (1990). Miles. The Authobiography. New York: Simon & Schuster.

Vitebsky, P. (1996). Szaman. Warszawa: Świat Książki.

Netografia:​, access on 3 June 2017.​, access on 3 June 2017.



  • There are currently no refbacks.